I’ve signed a book contract for FAINT PROMISE OF RAIN. This is a fabulous, dance-a-jig worthy event for me, after years (and years) of work. And yet, there is also a part of me that has gone into a panic. A panic about actually sending the book out into the world for people–real, live people–to read. And possibly not like. And possibly post devastating reviews about. I remind myself of all the wonderful and complimentary comments I’ve received on the manuscript by well-established editors (who nonetheless declined to publish it), but still.

It has been a decades-long and enriching journey to get to this point of showing my work, my writing, to others. But it remains, nonetheless, terrifying.

Imagine this scene: 9th grade, English class. Our teacher, Mrs. Fournier, gave us a writing assignment. It was a single word: Solitude. In classic French fashion (for this was taking place in France) she told us to take that one word, and fill 4-6 pages. I remember the feeling that came over me as I wrote it. I was giddy with joy at the assignment, and worried that someone would notice. The assignment took very little conscious thought. The words flowed, I loved the feeling of the fountain pen sliding on the smooth paper. I turned it in, feeling confident I had done solid work. But I was not expecting what came next.

The teacher handed back the papers, but not mine. I wondered if it had gotten lost. Then she said that one student’s writing had stood out, and she wanted to read it aloud. All eyes turned toward me, and I wondered how they knew. I felt my cheeks flush. It was the proverbial want-the-floor-to-open-and-swallow-me moment. She read the piece, and as the words came out of her mouth I pictured the story again, the old man in his dim home, at the Formica table stained with coffee rings, the memories of his wife lurking in the corner with the dust bunnies. It was more Loneliness than Solitude, but it worked. The line between the two is blurry. At the end, Mrs. Fournier put the paper down, and there was silence. A roomful of fourteen year olds was silent. Then she said: “Very few 9th graders can write like this.” I felt proud, embarrassed, unworthy all at once. And also awed by the effect that words could have on people, and that I could put these words together myself.

It was a long time before my writing was shared again with anyone other than teachers. I preferred it that way. Besides, I didn’t actually do much creative writing. Some poetry, written in my journal, in my room, then stashed away under layers of clothing in a drawer. That type of thing. I wrote, of course, for college courses, an honors thesis, my work in economic development consulting, my graduate studies in urban planning, my Master’s thesis, and people said lovely things about my writing, but I left it at that.

Then, at the age of 30, moved by my recent travels to Rajasthan, India, and by my classes in kathak dance, I started scribbling again. An image that I found in, of all places, a travel guidebook, sparked it. I researched the background of the image, began recreating a place and time. The faintest outlines of a story started taking shape. It was months before I realized I was writing a book.

I had three chapters drafted when I found out I was expecting a child. I knew I needed to get more on the page so that the body of work accomplished would be large enough, important enough, to call me back once I had given birth to the baby and ensured that she was healthy and thriving. I also knew I needed to acknowledge out loud, to my family and my friends, that I was writing a book, in order to make it real. Not real for them, but real for me.

The baby, K, was born. I worked during her naps. The manuscript crawled along. Finally, I had a full draft. It was summer, the child was three, I headed to France with her to visit my parents, and I left a copy of the manuscript with my husband, J, for him to read for the first time. I couldn’t bear to be around while he was reading it, so I asked him to do it before he joined us in France. He read it on the flight, and on the train down to La Ciotat in the South.

It was a sparkling sunny day on the Mediterranean coast. K and I wore flouncy skirts that danced around our legs as we waited for the high speed train on the quay. It arrived, slowed, stopped. The doors opened in unison, and I scanned the flow of passengers disembarking, blinking at the bright sun, clutching their suitcases. J appeared and we ran toward him, but something made me stop short. He bore a strange expression. We hugged, but he felt distant. What’s wrong, I asked. I was reading your book, he said. My chest tightened. He hated it. My book was awful. I had wasted hours and hours, years. He was disappointed in me. “No, it’s really good,” he said. “It’s just, I was at that really intense and kind of disturbing part.” And I smiled. There it was again. What I’d written had altered someone, at least temporarily. As it had in that 9th grade classroom. “Come,” I said, taking his free hand. “My father’s opened the rosé for lunch.”

Later that summer, I enrolled in a 10-week workshop, Novel in Progress, at Grub Street Writers. It was my first time sharing my writing with strangers, with people who knew nothing about me, probably little about India (where my book is set), even less about sixteenth century northern India. Presumably, they would be candid, unconcerned about hurting my feelings. I was exhilarated, and tremendously nervous. There were twelve of us, adults working on our (for the most part) first novels. On the first day, three students were to read out loud from their work. I was one of those first three. I was happy to get it over with at the beginning, but wished I could hear a few of my fellow students’ work first to know what I was up against. Not that it was a competition, of course.

One person went before me. I recall being generally impressed with the writing without being bowled over. This was good, promising. I felt I was in good company. (And in fact, I was.) These other writers were solid, dedicated. When my turn came, my lips went dry, my voice felt wobbly. I read for my allotted five minutes, acutely aware of how unpracticed I was at reading out loud, wishing I’d thought to put a cup of water in front of me. When I finished, the room was quiet. I avoided everyone’s eyes. Part of me feared they were all simply trying to mask their horror, to think of something kind to say. But part of me knew that was not true. Finally, one of them spoke. “Wow.” That one word broke the ice, and others started commenting as well.

For me, that one word told me that I would be alright. Over the course of the 10 weeks, and then over the course of the years of revisions and rewrites, the dozens of rejections from agents and then from editors, the moments of self-doubt, the times my friends, my writing group and others told me that things weren’t working, that the voice was too distant, the plot twist unbelievable, the character arc missing, I held onto that moment when I got goosebumps reading my own few pages, when a roomful of strangers was reduced to a single “wow.” That is why I write, for those moments, however few and far between. And they cannot happen if I do not show my work.